Students were challenged to develop a live performance work, a performance-related video, or an installation with a performative element for an exhibition that simultaneously continued to push their current direction, but that also responded to or reacted against another living artist's work.

For Rabble Rousers in the Rubble, students created a live performance or a performative-object or video, that addressed place, activated space, changed space, or denied space. They were asked to rabble rouse in the rubble, to the rubble, about the rubble, or against the rubble--in this case, "rubble" was symbolic of the geography beneath their feet.

For this projectstudents had to generate a series of three (or more) visually unified single-channel video artworks using Final Cut Pro that engaged with ideas relating to the minimal and/or the maximal. (The above example is one of the three videos the student produced in response). The students were required to create their own sounds and score using Logic Pro.

The students were asked to create a sculpture about any relationship that they have been in with another person (family, co-worker, friend, romantic, etc.) and to depict the dynamic of that relationship without using the human figure.

Divided into groups of three, the students were first asked to lay out the core principles of a new religion that was devoted to a common interest of the group (which they had to discover). Then, informed by this interest, the group had to design and build an inflatable church for their new religion.

I divided the class into teams of four and had them choose both a genre of film and a general conceptual theme from a matrix. The student groups collectively developed storyboards and shot footage taking visual and auditory cues from the film genre they chose, while creating a video artwork that addressed their theme. For the post-production stage (editing and scoring) the students all worked individually--which meant that there would be four different cuts of each project. This enabled students to better comprehend the significance of post-production, seeing how their classmates decision making differed from their own.

Accruing "data" from a minimum of 10 other people, students were asked to process this information and then incorporate it into a non-objective painting. The "data" varied greatly. More straightforward student approaches might have included questionnaires about physical attributes such as height or eye color. One student had their participants provide photographs of themselves as a child, from which they gleaned various nondescript shapes and colors. Another student had their participants spit their favorite beverage onto a piece of paper so that she could trace the shape of the spittle and transfer that shape into the painting.

Choosing one sentence from a novel or text that they have read, the students recorded themselves reading that passage. Using a digital audio workstation to splice, layer, distort, and transform their voices they were challenged to create a non-narrative sound experience that would relay the tone of the underlying literary source using only their recorded voice.